217. do it clean [live]

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Wherein Echo + the Bunnymen make it clear that they really are the greatest band in the world (for a few minutes anyway, live at the Royal Albert Hall in 1983), surfing all the powerful and angular waves of the confusing and psychedelic moment, taking them to places where gravity holds no sway. Which in the case of Do It Clean means, what the hell, why not throw in some Beatles, some James Brown, some Nat King Cole and Boney Maroni! Because once you’ve achieved a certain critical velocity, there are no borders anymore, no barricades, no lines between – it’s all just one superlative song.

Echo+Bunnymen-Live-1983

218. like a rolling stone

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“This being the version of Like A Rolling Stone that Jimi Hendrix played live in 1967 at the Monterrey Pop Festival. I may have been only seven at the time and thousands of miles away, but I heard it anyway, such was the superlative noise that Mr. Hendrix set loose unto the universe that evening – it cracked the speed of light, broke the bounds of time. And, of course, a loose, wandering cover of Bob Dylan’s still fresh epic had to be part of that performance, because that’s how zeitgeists work. A few songs later, he’d be setting his guitar on fire, a heat you can still feel … but that’s another story.” (Philip Random)

JimiHendrix-1967-Monterey

219. Senor (tales of Yankee power)

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“I tend to think of Senor (Tales of Yankee Power) as Mr. Dylan‘s last great pre-Christian moment, though I suppose some of the lyrics suggest he’d already opened the good book at this point – he just wasn’t advertising it yet. Either way, he seems to be alone at a crossroads in the midst of some wasteland with smoke rising off in the distance. But is that Lincoln County or Armageddon? And what’s the difference anyway?” (Philip Random)

BobDylan-1978-live

220. my spine is the bassline

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“I remember getting into a rather intense argument with a fellow DJ at the end of 1983 who insisted that Shriekback’s Care was the album of the year. It wasn’t then, still isn’t now. Shriekback (even with their XTC / Gang of Four lineage) just weren’t that important, the notion of white guys committing full-on to the groove hardly being earth shattering by 1983. Which doesn’t mean Care wasn’t (and still isn’t) a damned fine album, underrated, overlooked, and heavy with all manner of dark and compelling moods and regions, because get the mix right (and perhaps the drugs) and sometimes one’s spine really does become the bassline.” (Philip Random)

221. bankrobber

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“I first discovered Bankrobber via Black Market Clash, a compilation of various singles, b-sides, versions etc that came our way toward the end of 1980, perhaps driving home the point that no other outfit in the world mattered more. I mean, consider the evidence. In 1979 and 1980, The Clash release London Calling (two record set), Sandinista (three record set) and Black Market Clash which, as a subsequent CD reissue would prove, was itself just a tip of the iceberg in terms of unreleased stuff. And these non-album ‘rejects’ were often straight up brilliant as Bankrobber’s pumped up dub grooving rather forcibly argues. Hell, I know one guy who seriously considered going into a life of crime based on its simple logic of stealing form the filthy rich but not hurting anybody in the process. Then he sobered up.” (Philip Random)

Clash-1980-airplane

(photo source)

222. price of paradise

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“Being a necessary missive from the final Minutemen album, main man D Boon weighing in on that so-called lucky generation of young Americans who didn’t have to go fight in Vietnam, but had older brothers (or cousins or next door neighbours) who did, and so saw all too closely the damage done. But then a pointless van accident can get you any time, as it did D Boon in December 1985, somewhere in the desert. Rest in peace, man. The Minutemen are still the best f***ing band most people have never even heard of.” (Philip Random)

Minutemen-1985-promo

(photo: Naomi Petersen)